Darker subjects and exquisite dancing. You have been warned
Ballet Black presents Chanel DaSilva’s A Shadow Work, a (literal) dance and struggle between our “undesirable” self and our “pristine” self, and Cassa Panchos newest tour de force, My Sister, The Serial Killer, a gorgeous book to dance theater adaptation of Oyinkan Braithwaite’s best selling novel. Two ballet experiences delving into murky and uncomfortable depths of the psyche… with a little bit of blood to be spilled.
It must be immediately said that the cast of dancers were faultless over both productions. If you’d like to see raw, lithe, emotional dancing and acting, consider this your call to arms.
A Shadow Work was symbolic. A solitary dancer in white, our protagonist of sorts, encounters and grapples with their black-clad counterparts, a dark twisting mob of dancers, the representation of our true self and all that we repress. This was not a classical ballet, instead it easily fused with a more contemporary dance style to good effect. The soundtrack was unexpected and intriguing with composer Cristina Spineli sectioning out the turmoil in varying, trance-inducing synthesizer beats and textures indicative of the conscious versus subconscious state. The solo moments between the two main ‘good’ and ‘suppressed’ characters were among the best, their focus and attunement to each other led to breathtaking moments of synchronicity and fragility. A nod to DaSiva’s and assistant choreographer Jamal Callender’s prowess, there is a subtle yet poignant reflection and mimicry between the rival dancers as time passes– we need both sides indeed. With perhaps the potential to be edited shorter, it was a beautiful piece.
My Sister, the Serial Killer was engrossing, a horror thriller come to life in stunning theatrical ballet form. We follow the drama of two sisters, Korede, a nurse (Isabela Coracy), and Ayoola (Helga Paris-Morales), our flirtatious killer. As Korede deals with the guilt and demons of aiding her sister again and again after her kills, things get complicated when Ayoola’s next victim may be the doctor (Ebony Thomas) that Korde has loved for years. What a performance and adaptation. Every aspect of this piece worked: the minimalistic but well chosen set pieces, the pacing and transitioning, the incredible soundscaping of Tom Harrold’s chilling and dramatic compositions then enhanced by David Plater’s dynamic lighting design. It is impressive when the lines between theater and ballet can be blanched so well, and perhaps it was even more engaging because of the absence of speech, drawing focus to each gesture and expression for such a dramatic subject. The acting from the whole cast was at such a high level. I do hope the masterful costume designer (Jessica Cabassa) and multiple choreographers alike can handle the guilt of creating such hellish demon characters that shall now haunt many a dream. So brilliant and utterly terrifying.
It is a great thing to be surprised by art. These two pieces strike me as ones that may engage a wide variety of audiences and could be recommended to those who may not immediately choose to see a ballet. I guarantee they will change their minds. An excellent night. I look forward to following Ballet Black for years to come.